Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from United States and from Philadelphia.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1962 to 1971.
I'm losing my edge.
To all the kids in Houston and Lyon.
I'm losing my edge to the art-school Edmonton kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The West Coast Pop Art Experimental Band to the crunk kids.
I played it at the Troubador.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Lyres. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Flipper record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
The Music Machine,
Avey Tare's Slasher Flicks,
OOIOO,
Wire,
Susan Cadogan,
Fluxion,
Make Up,
Kayak,
Tim Buckley,
Alton Ellis,
The Fugs,
Ultra Naté,
Qualms,
Marmalade,
Kauko Röyhkä ja Narttu,
Gabor Szabo,
Bush Tetras,
The Durutti Column,
Arcadia,
Aswad,
Oppenheimer Analysis,
Rod Modell,
Captain Beefheart & His Magic Band,
The Moleskins,
Roy Ayers Ubiquity,
Marc Almond,
LL Cool J,
Ohio Players,
The Slits,
Scrapy,
Kas Product,
Amazonics,
Skaos,
Arab on Radar,
Angels of Light & Akron/Family,
Wasted Youth,
Peter Gordon & Love of Life Orchestra,
The Electric Prunes,
Excepter,
Lou Christie,
Peter & Gordon,
Interpol,
Erasure,
Sex Pistols,
Johnny Osbourne,
Bob Dylan,
The Evens,
Jeff Lynne,
Second Layer,
Eden Ahbez,
UT,
Siouxsie and the Banshees,
10cc,
Essential Logic,
Von Mondo,
Neil Young & Crazy Horse,
Cheater Slicks,
Pussy Galore,
Rakim,
Unrelated Segments,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.